Money in the bank

When I'm watching a tv show or a movie, there are always certain actors I'm happy to see. Actors who directors and audiences can rely on to give a great, complete, immersed in the character performance every time, with the uncannny ability to play any genre—comedy, drama, classical, farce, screwball, rom-com—all with the greatest of ease.

It's not easy, but these actors make it look that way.

Two of my favorites who deliver every time are Gary Cole and Margo Martindale. They are, as the saying goes, money in the bank.

I first saw Gary Cole in Fatal Vision, the story of Captain Jeffrey MacDonald, who murdered his pregnant wife and two daughters and tried to blame it on a Manson-like group of hippies. Cole has been reliably great in every role I've seen him in since.

One of my favorites was his portrayal of FBI Agent Baxter in A Simple Plan. I'm not going to spoil the surprise twist that his character takes in that role, but it is chilling. It's a great movie worth seeing, and Cole's performance, which comes near the end of the film, is one of the best reasons to watch it.

I'm sure I'd seen Margo Martindale before, but her performance as Hillary Swank's mom in Million Dollar Baby was the one that put her on the map for me. It's a joy for me every time I see her on screen. I especially liked her as the Russian handler in The Americans, and as Peter Florrick's campaign manager in The Good Wife.

Yes, I watched The Good Wife. Shut up.

There are many actors who may not be household names, but elevate whatever project they're in with their enormous talent, humility and committment. A dozen years ago, I wrote about another great one who's name almost no one knows but who's face almost everyone recognizes—Dabbs Greer.

Anyway, no funny little quips to end this. Just a tip of the hat, and a show of appreciation for real talent by two extradordinary actors that bring me pure joy, and some well-needed escape, every time I encounter them.

Ok. That's a wrap.

He has my vote

Like many of you, and by many I mean the nine people that read this blog on a semi-regular basis, and by semi-regular basis I mean you forgot to empty the cache and it came up again accidentally, I thought this day would never get here.

Election day. It's the one we've been waiting four extremely unpleasant years for.

But it's here now, and it's our last chance to replace the racist, lying, misogynistic, name-calling, Big Mac-grazing, nazi-loving, pussy-grabbing, Covid-spreading, division-stoking, dictator-fawning, deficit-raising, veteran-hating, democracy-killing, adderall-fueled, festering piece of shit occupying the White House with someone who deserves to be there.

Someone with a moral compass and an innate sense of right and wrong.

Someone with intelligence that rises to the job and being leader of the free world.

Someone who in times of severe hardship and sacrifice—say a war or a pandemic—we can trust will have our best interests at heart and will act accordingly.

Someone who won't be laughed at every time they're on the world stage.

Someone who will surround themself with a cabinet of intelligent, non-yes men and women (no-men?) instead of swamp-residing, just-crawled-out-from-under-a-rock grifters looking to line their pockets on the taxpayer's dime.

Someone whose kids don't kill wild, endangered species for sport and aren't second-generation festering pieces of shit.

Someone we can respect.

That's why I'd like more than anything to cast my vote for Josiah Bartlet. I'd like to, but I can't.

On the off chance you don't know, Barlet is the fictional president played by Martin Sheen on The West Wing, which it so happens the wife and I have been bingeing for a while now (we're on season 4, episode 17). He possesses all the above mentioned positive qualities, as well as a wicked sense of humor, laser-focus and a keen analytical mind. It sounds great, amIrite?

And while I'm sad I can't vote for Josiah Bartlet, I'm happy I've already cast my vote for Joe Biden and Kamala Harris.

During primary season, Biden wasn't my first choice, he was my fifth. I imagine that's true for a lot of people. My dream ticket was Harris/Buttigieg. Or Warren/Buttigieg. Or Sanders/Buttigieg. Or Buttigieg/Yang. But Biden brings with him the experience, the leadership, the compassion and the decency we've lost as a country. It will take decades to undo the damage the unstable genius has done, but Biden has a roadmap to get there.

Plus instead of a simpering suck-up who looks at him with moony-moon eyes and a schoolgirl crush, in Kamala Harris Biden has a Vice President more than qualified for the job, a trusted advisor and someone who won't be afraid to speak up when she disagrees with policy.

So today I'm going to try as hard as I can to stay away from all the election news—it'll go on for days and months, I'm sure I'll hear about it. Instead I'll be spending my spare time watching more episodes of The West Wing. Because while Aaron Sorkin's stellar, rapid-fire dialogue and precision writing gives me a benchmark to aspire to (you know I can hear you laughing, right?), in each and every episode, and on this day especially, it also gives me something else I've missed terribly and need desperately.

Hope.

The One About the Theme Song

I know this probably won't come as a shock to you, but I've been bingeing a TV show. The only surprise is that it isn't Breaking Bad. This time it's Friends.

Like everyone, I was a fan of the show the first time around. But now, with my newly discovered insomnia, I stumbled onto Nick At Nite, which apparently is the all-Friends-all-the-time channel late into the night. Which means I hear I'll Be There For You—the show's theme song—in all its poppy, catchy, AM-friendly glory several times a night.

And it got me to thinking about the Rembrandts, the group who sings it. The song originally appeared as a hidden bonus track on their third album when the Friends producers decided it'd be the perfect song for the show.

Could the song have BEEN any bigger? The first year it was the top selling single in the country, and suddenly a little-known group skyrocketed to stardom.

Just to refresh your memory about how big it was, have a look at the official Friends theme song video, starring the Rembrandts and the entire cast. (Fun fact: Courtney Cox is really playing the drums):

I also found a more recent video of the band playing their hit song. It's a more stripped down, acoustic version. A little less frantic, a lot less star power. Oddly enough, the song—and their voices—hold up well. I find myself thinking it actually has a subtle poignancy overlaying its hopeful and optimistic message.

But then again, I haven't been getting a lot of sleep.

Downton Jeffy

I’ll be the first to admit every once in awhile I’m late to the high tea party.

A few years ago, I remember walking through my living room as my wife and daughter, both of whom I recognized immediately, were watching Downton Abbey. They invited me to join them, but I had better things to do than sit through what I assumed was a boring British period piece where I couldn’t understand half the things they were saying.

Whose language is it anyway?

Besides, if it didn’t involve cooking meth, a rock and roll singer from New Jersey, a mob family or playing craps I wasn’t that interested. Yes I drive a very narrow lane. Shut up.

Fast forward. The wife and I are in a theater, and we see a trailer for Downton Abbey: The Motion Picture coming out this September. It revealed nothing, other than an interest on her part to re-watch the entire TV series in preparation for seeing the film. She invited me to watch it with her, and, never being one to miss an opportunity to score some marriage points, I agreed.

Here’s the thing: I am so hooked. I love this show in a way I have loved very few shows. It’s totally character driven, and the lives of the Crawley family are as interesting and intriguing as said meth kingpins or mob bosses.

There's no shortage of palace intrigue at the Abbey. Murder, rape, World Wars, the Titanic sinking, relatives dying, bastard children, backstabbing, romance, betrayal, sexual identity crisis, illicit affairs, women's liberation and the changing times just after the turn of the century are all a part of it.

Then there’s the brilliant, subtle, nuanced, hitting-every-note acting. A British cast for the most part (with one notable exception being a pivotal character played by Shirley MacClaine), each character has an opportunity to shine with a storyline devoted to them. My personal favorite standout is Dame Maggie Smith, a distinguished and accomplished actor, who if you don't know her large body of work which covers over 70 years, you'll at least remember her as Professor Minerva McGonagall from the Harry Potter series. She conveys more with a look than most actors do with a soliloquy.

The show itself is like watching a feature film every episode. Rich, beautiful cinematography, stunning scenery, magnificent production design and a wardrobe budget costume designers wait their entire career for.

The writing is, as they say, spot on. Beyond cleverly written, each character (and there are a lot of them) is completely drawn.

As of this writing I’ve just finished up season four, which ended on a sweet note with a heartfelt Christmas episode. I cried like a baby. My macho self-esteem is not threatened.

If you have the time, Downton Abbey is well worth the binge. As Violet Crawley (Maggie Smith) says, "It seems a pity to miss such a good pudding."

Quite right.

Garry Shandling: In the beginning

Last night HBO aired the first part of a two-part series called The Zen Diaries of Garry Shandling. It's produced and directed by Garry's close friend Judd Apatow, and it is magnificent.

A beautiful documentary about the legendary writer and comedian, it takes us back to the beginning and Shandling's roots while exploring the life events—like the death of his brother from cystic fibrosis, a meeting with George Carlin and hosting The Tonight Show—that left indelible impressions and defined him throughout his life.

Told through a series of interviews with his friends, family and fellow comedians, it doesn't take long at all to realize Shandling was indisputably one of the greats. His reach, influence and genius continues to be felt in every standup comic working and many of your favorite television shows.

Years ago, I had the great pleasure of meeting Shandling at a lunch with my friend Kevin. I wrote about it in this post I did when he passed away unexpectedly a couple years ago.

Since HBO is running the special (which you most definitely should see), and he's on my mind in a much more profound way than ever before, now felt like a good time to repost this.

"My friends say I have an intimacy problem, but they don't really know me." - Garry Shandling

Please to enjoy.

I had lunch with Garry Shandling in New York.

Years ago, the wife and I had gone back to visit our friend Kevin, who was living there and working on SNL at the time. We were going to meet him and his wife at the time for lunch at the now defunct Cafe Des Artistes. When we were confirming lunch, Kevin said, "I hope you don't mind, but I invited Shandling and one of his writers to join us."

We were good with it.

We all met at the restaurant, and there was an additional person at the table who I didn't know. Come to find out later he was the president of PETA, which Kevin's wife was very involved with.

Shandling sat next to my wife, and, either not knowing or not caring, spent most of the lunch talking to her and hitting on her. As you might imagine, it was hysterical.

I don't remember many of the lines, but at one point, obviously for the PETA president's benefit, he asked my wife, "I want to get a new haircut, but I'm nervous about how it'll look so I want to try it out on my dog first. Is that considered animal testing?"

A few weeks later, the wife and I were shopping on Montana Avenue in Santa Monica (where we lived at the time), and we wandered into this antique furniture store. We were looking at one of those two-person desks when Shandling walked in. We reminded him we'd all had lunch in New York, and had a nice conversation with him for about twenty minutes.

Here are a couple things he told us: he started out as a copywriter in New York, and ironically had written on Suntory Whiskey - an account I'd worked on at Wells Rich Greene early in my career (stops to laugh hysterically for using the word "career").

Early in 1998, I sat down and wrote two episodes of his influential and landmark Larry Sanders Show. I thought they were pretty good, and I asked Kevin if he'd read them and, if he liked them, would he mind passing them on to Garry.

Well, there's good news and bad news. The good news is Kevin liked the scripts. The bad news was it was right at the point when Garry was pulling the plug on the show. In comedy, timing is everything.

A couple years ago, the wife and I saw Shandling again at Kevin's birthday party. While it was a star-studded affair, we both felt a personal connection to him. We didn't know him well, but we'd been fortunate enough to spend time on the receiving end of his remarkable humor and unmistakable kindness.

I could go on about how revolutionary both It's Garry Shandling's Show and The Larry Sanders Show were, but you'll be hearing and reading a lot about that in the coming days. Besides, the work speaks for itself.

Sadly, and all too soon, as of this morning the world is a far less funny place. However, if you know anyone in heaven, you might want to let them know there's going to be a killer set tonight around 9pm at The Laff Stop on Cloud 9. Two drink minimum. Look for the brick wall and the mic.

You're in our hearts forever. Goodbye Garry. Rest in peace.

What looks good?

As someone who's binged Breaking Bad ten times, seen every single show—not tour, show—that Bruce Springsteen's done in Los Angeles since '78, stays standing at the craps tables long after my legs and budget have given out, and drinks Coca-Cola with the same joy and frequency as Eric Northman necking (see what I did there?) on True Blood, there's a slim to none chance of anyone ever accusing me of doing things in moderation.

But even with my compulsion to over-enjoy things I like, there are places I firmly believe a little moderation is in order. Menus for example (Menus? In order? Thanks, I'll be here all week).

I think the number of items listed on a menu should be like the food itself: not too little, not too much. Just enough to satisfy. When I'm hungry, I don't want to sit down with a spiral-bound menu the size of the yellow pages and read through it. I want to see sections I like, find the item, get the order in and start scarfing.

Of course what makes a monster menu easier to navigate is the same thing that makes shopping on Amazon quicker: knowing what you want going in. If the menu's that big, they'll either have whatever I'm in the mood for or probably be able to whip it up.

At the restaurant, not Amazon.

For my dining dollar, the best menu in town is In-N-Out.

Simple, friendly, easy to navigate in a hurry, it's essentially the same as it was the day they opened in 1948.

They're a little sly about the fact they have more items than they list, but with the tiniest bit of detective work you'll find the additional dishes on their not-so-secret hidden menu.

What's great about the hidden menu is when I ask for something no one around me sees on the displayed menu, I feel like a real insider, a person in the know. It makes me feel special.

Okay, it's just a hamburger place, but I'll take my self-esteem where I can find it.

Where was I? Oh right. To the everyday diner, the regular In-N-Out menu is a quick glance and an easy decision, which is exactly the way menus should be at every restaurant. To be fair, I suppose there's a certain mood-setting that happens when you have to ponder the menu for a while. But if I'm at a restaurant, my mood is already set on hungry.

I'm not gonna lie, after all this talk of menus and food I'm starving. It's probably time to drag myself out and get something to eat.

Right after I finish Season 4, Episode 7 of Breaking Bad. Again.

Send fries in lieu of flowers

Michael James Delligatti deserved more.

He is after all the man who invented a uniquely American culinary icon. Made literally billions for the company he worked with and for. And his invention was a very happy meal indeed.

Delligatti should've died last week at the age of 98 (maybe Big Macs aren't so bad for you) with an estate worth billions to leave his heirs. But all he got from McDonald's for his creation that's responsible for over 25% of their profits is a plaque.

Some people might argue that's more than Moe Green got (Godfather reference, look it up). But for my McMoney, it wasn't enough.

Delligatti was a franchisee who told McDonald's they should offer a double-patty burger. McDonald's, having the foresight and keen intuition for trends that they demonstrate even to this day, told him no. So, as the NY Times said, Delligatti went rogue. He ordered a larger, sesame-seed bun from a local baker, split it in three and made his own double-patty burger.

To everyone's surprise but his, sales skyrocketed. Funny thing. Once that happened, suddenly McDonald's was interested in offering what later became the Big Mac.

There seems to be a tradition of companies who make money off of these innovative ideas by screwing the people who come up with them.

One of the more famous instances was Jerry Siegel and Joe Shuster who created a little character with a red cape you might've heard of - Superman. There were a slew of lawsuits, settlements and more lawsuits with the two families about ownership, and they still continue to this day (too much to go into here, but if you want to read more about it you'll find it here).

Ronald Wayne, the third founder of Apple along with Jobs and Wozniak. Wayne quit a few days into the partnership, scared the boys didn't know what they were doing and he'd be on the hook financially. If he'd held onto his stock, which he sold for $800, it would've been worth over $32 billion today. He took himself out of the equation, but still it would've been good karma for Jobs to reward him with a stipend for getting the company on its feet.

Philo T. Farnsworth, the farm boy who actually invented television at fourteen-years old and got screwed out of the patent by RCA.

John Walker, inventor of the self-igniting friction sticks, or as we call them in my country, matches.

How about Gary Kildall, inventor of the operating system you're probably using a version of right now. He got royally hosed by a nerdy billionaire from Seattle who usually gets the credit.

Of course, there's a saying my therapist taught me. I know what you're saying to yourself "But Jeff, you seem so well-adjusted, why would you have a therapist?" You have no idea.

Anyway, what she always says is there are no victims, only volunteers.

Many of these people didn't patent their ideas in spite of being urged to. Or some signed a contract without reading it. However they lost hold of their brain work, it seems ashame they weren't able to benefit from the rewards of it.

Even if a company owned their ideas fair and square, there's more than enough money to go around. Giving the creators some of it just seems like the right thing to do. Although I realize we're living in a post right-thing-to-do era.

Anyway, rest in peace Mr. Delligatti. I've enjoyed your creation many times over the years, and still indulge the occasional craving for it. Only now I take out the middle slice of bread.

It's a lot healthier that way.

Everyone has one

I was watching, well, not so much watching as listening, well, not so much listening as tolerating the Today Show which was on while I was getting ready for work this morning.

By the way, getting ready for work consists of repeating, “I’ve got another 15 minutes before I have to get out of bed.” about four or five times after the alarm has gone off. And by alarm, I mean my German Shepherd or whatever the hell Lucy is barking at sunrise.

Anyway, apparently there’s a controversy I was totally unaware of, that was “shaking up the internet” and was important enough to merit time on a national television broadcast.

Today show co-anchor Savannah Guthrie was rattling on about a picture of Victoria Beckham kissing her young daughter on the lips, and the subsequent firestorm of controversy and discussion it started. I imagine the people discussing it are the same brain trust that leaves comments below every article about anything online.

Frankly I’d be more concerned if she was kissing someone else’s kid on the lips. Ah, who’re we kidding here. Actually, I wouldn’t. I have no opinion on the matter. I don’t care.

In the age of photos going viral, and people with too little brains and too much time on their hands having access to technology that transmits their stupidity around the world in a nanosecond, people feel they have to have an opinion about everything, merited or not.

Is Jennifer Aniston pregnant. Madonna’s road rage. Dolly Parton’s secrets. Honey Boo Boo growing up. Jaden Smith. Anything about a Kardashian. I was going to call this post Who Gives A Shit, but after all it is a family blog.

There are too many real issues in the world, especially this year, that people need to reflect on, apply some critical thinking against, get the facts and actually form a well-conisdered opinion about. None of them include watching alleged "journalists" embarrass themselves discussing the way Victoria Beckham innocently, like parents all over the world, like we have, kisses her kid on her birthday.

The worst part is producers of morning shows like Today want it both ways. In one breath, Savannah Guthrie shares our frustration about the insignificance of this story by telling us it's a topic we shouldn’t even be discussing. In the next breath, she's inviting the audience to go online to the Today website and give their opinion in a poll about parents kissing kids on the lips.

I never thought I'd be longing for the days of the Martha Stewart cooking segments, but after all, these are desperate times.

Of course that's just my opinion.

My new favorite teacher

I'm not going to bury the lead, I'll just come right out with it. My new favorite teacher is Mr. Hayashino. I say new favorite, because I just met him tonight for the first time at my daughter's high school Back To School Night.

If you don't have kids you may not be familiar with Back To School Night. Almost every school has one. It happens at the beginning of the school year, usually on a night there's a major sporting event or a television program you've been waiting three months to see.

Parents follow their child's curriculum, going from class to class between bells, cramming ourselves in the students' chairs and listening to their teachers give an overview of who they are, what they teach and what they expect from both us and the students.

They have ten minutes to do it before the bell rings and everyone hustles onto the next class.

Tonight, I met my daughter's chemistry teacher, Mr. Hayashino. I know, I said chemistry. I'm sure for those of you who follow this blog with any kind of regularity, you already see where this is going. And it's going exactly where you think it is.

I'm not sure what Mr. Hayashino was saying during his allotted ten minutes. I was busy looking at the Periodic Chart, trying to find the element symbols that spelled Felina, which as I'm sure you know was the name of the series finale episode of Breaking Bad.

When the bell rang, I went up to Mr. Hayashino, introduced myself and asked if he'd watched Breaking Bad since it's required viewing for chemistry teachers. He said he saw the series - all of it - for the first time this summer. I told him I'd binged it six times. He was duly impressed.

We immediately started talking about chemicals, cooks and how we have to get together and talk some more about the show. Twist my arm.

So this semester, I'm going to be taking a keen interest in how my daughter is doing in school. I'll monitor her progress, and talk to the teachers when necessary.

When I get to her chemistry class again, I'll ask the teacher, "Who the hell are you?"

And if Mr. Hayashino's the chemistry teacher I think he is, I'm pretty sure his answer will be, "You know who I am. You all know. Now say my name."

Marathon man

There are plenty of reasons to look forward to holiday weekends. No work, that's a good one. Another is no work. Then of course there's also no work, which makes them extra pleasant.

One other reason, equally as good, is the annual Twilight Zone marathons.

Usually on Memorial Day and Labor Day weekends, somewhere on the six-hundred cable channels Charter overcharges me for, Rod Serling is telling me there's a place between light and shadow called the Twilight Zone. And he does it for forty-eight hours.

It's a given that at least two weekends a year I'll get to see William Shatner freaking out about a gremlin on the wing of his plane. Or about a fortune-telling machine with a devil's head on it in the booth at the diner.

I'll watch Burgess Meredith break his glasses, just as he has all the time he wants to read. I'll also get to see him square off against Fritz Weaver, explaining why he's not obsolete.

John Carradine will tell H.M. Wynant not to remove the small staff locking the door of the howling man, because he's really the devil. SPOILER ALERT: He doesn't listen and has to pay the price for it.

Captain Lutze will visit Dachau, and the ghosts of a million Jews will haunt him and eventually drive him insane.

And of course Ann Francis, as Marsha White, will go to the nonexistent ninth floor of the department store looking for a gold thimble, where she'll run into some familiar looking mannequins.

Under the guise of brilliant storytelling (Note to agencies: this is what real storytelling looks like), the Twilight Zone tackled real issues like racial prejudice, equal rights, crime and where an insatiable greed in all its forms inevitably gets you.

It's a testimony to Rod Serling's talent and imagination that decades after their original airing, the themes, stories and conclusions drawn on the Twilight Zone continue to be relevant.

Which I suppose makes it a sad commentary on us.

Throw the book at 'em

Now that most television shows have aired their season finales, the question is what do I do with all the extra time I'll have on my hands.

There are always the go-to programs like a 6th binge of Breaking Bad, or a 2nd binge of House Of Cards. There are shows I never made time for like Treme and Shameless.

But I was thinking maybe it's time to tackle a more intellectual pursuit. Reading. Schopenhauer once said, "We buy books because we believe we're buying the time to read them." If that's true, I've bought myself a lot of time.

On the nightstand next to my side of the bed, which with a wife and two dogs is getting increasingly smaller by the minute, is no less than 27 unread books. I bought every one of them with the intention of cracking it open when I got home from Barnes & Noble.

And yes, I still buy books and I still go to bookstores. Never read a book on an e-reader, never will.

Here's the thing: I go on book jags. I don't read one for a while, then I plow through six or seven in a row. Even when I'm short on time, when I'm on one of the jags I make a point of reading a chapter when I wake up and one before I go to sleep.

Admittedly it requires discipline. Which explains the giant stack of unread books by the bed.

But I've been at a place for a while where not only do I know how Walt and Jessie wind up, I also know every event, character and line of dialogue that gets them there. So it's time to read.

Maybe I'll start with Walt Whitman's Leaves Of Grass, the collection of poems Hank was reading in Gliding Over All, the eighth episode of the fifth season of Breaking Bad. The one where he's on the toilet when he discovers Walt is actually Heisenberg.

Alright, maybe one more binge and then I'll get started on the books.

Dave

There's this friend of mine who's a writer and also writes a blog. Well, sometimes he writes a blog. A lot of the time he just captions pictures. But he's putting it out there and often the captions are quite funny. It all counts - at least he's making the effort.

Which, if you read this blog on a regular basis, know that's something I rarely do.

Anyway, like many other blogs including this one, he posted about David Letterman today. Here's one of the things he said about Dave when he left Late Night at NBC: "But then the real Dave moved to CBS, and the middle of the road with his humor and he lost a step. And he lost me."

I'd agree with him, except then we'd both be wrong.

I don't believe he lost a step. I think it's clear he found his footing. I'm sorry he lost you pal, because that means you missed some of the best, most subversive and defiant comedy ever put on network television.

Dave's master plan was always to bring his brand of innovation, lunacy and comedy to a wider audience. That audience's address was 11:30. After he was wrongfully denied the Tonight Show (and by the way, if you're calling anyone's humor middle-of-the-road you might want to start with Jay Leno), executive Howard Stringer at CBS gave Dave the platform and freedom to do his show his way.

A lot of it meant bringing over staples from the NBC show (Top Ten List, Stupid Pet Tricks, Stupid Human Tricks, Jack Hanna). But since NBC claimed the intellectual property rights and threatened to sue - which turned out to be an empty threat - Dave was forced to do something he would've done anyway: continually stretch the boundaries of what a talk show could be.

I'd argue he did more innovations to the format and pushed the boundaries - sometimes to the breaking point - more in the CBS years than ever before that.

The beauty of it was that unlike the boot-licking, let's not offend anyone host Leno became, Dave was always Dave. If he didn't like a guest, we knew it. And if he loved a guest (I'm looking at you Julia Roberts), we knew that too.

On a personal note, when Paris Hilton appeared on the show just after her release from prison, Dave made a point of repeatedly asking about her ordeal. I don't think she'd been that uncomfortable since someone accidentally called her smart in the fifth grade. It's some of the finest eight minutes ever aired. You can see it here.

Yes, Dave went from sports coats and sneakers to suits and leather shoes (still with white socks though). If you're going to live at 11:30 you have to dress for the occasion. It wasn't just college kids and stoners watching anymore. It was the world.

Jay Leno built a career out of copying bits, routines and ideas Letterman had years before. Maybe that's why there is no Jay Leno legacy, aside from mediocre political jokes. There were no tributes. There was no emotional investment in Jay Leno. He didn't influence a generation of performers in the way Dave did. Once he was gone, he was forgotten.

Something no one will ever be able to say about Dave.

The pleasure that is Platt

There's an entire class of actors I feel are underrated. They're usually something more than character actors, yet somewhat less than lead actors.

It's in this sweet spot that Oliver Platt lives. He's been one of my favorites for years.

Whether it's White House lead counsel in The West Wing, Warren Beatty's nervous, cocaine-fueled campaign manager in Bulworth, acidic restaurant critic Ramsey Michel in last year's Chef or Cameron's gay bowling adversary on last night's Modern Family, Platt's characters are fully realized, unique and completely organic. He couldn't make a false move if he tried.

Full disclosure: years ago I started writing a television show for Platt before my complete lack of discipline did me in. Again. I'm working on it, okay? Back off.

Anyway, it was about two lawyers who were also brothers. One went to prestigious Harvard law school, and the other went to the Saul Goodman law school in Samoa. Through a series of events, they wind up in practice together, and the néer-do-well brother winds up teaching his Harvard grad broheim a thing or two about the real meaning of the law.

Along the way, hilarity ensues.

Like so many other projects of mine languishing in a drawer or on a disc somewhere, I never finished writing it. But each time I see Oliver Platt onscreen, my muse is rekindled and I start thinking about maybe easing into working on it again.

He deserves a great show of his own, and I'd like to be the one to create it for him.

Like Phillip Seymour Hoffman, Gene Hackman, John Cazale, Jon Polito, Michael McKean and a dozen more, Oliver Platt's presence in a project elevates it far beyond where it would've been without him.

Of course now that I've spilled the beans on the lawyer/brother idea, I'll have to come up with something else.

I'll do my best to make it worthy of him.

From beautiful downtown Burbank

There are a lot of reasons I like writing radio. But I think the main one is that for the most part, people leave me alone. I'm pretty free to do what I want.

There aren't agency sleepwalkers jockeying to be at casting sessions, sneaking in to watch director reels and making comments suggestions as if they were asked.

Radio also doesn't have the glamour and excitement attached to it that television does, probably because there's no where near the money being spent on production and media.

Fine by me.

In my opinion, I'd rather be sitting in a recording studio than an editing bay any day. It's infinitely more fun. And I get to work with a caliber of talent that's unparalleled. Every time out, sometimes over many, many takes, they give it their best. (Although my theory is if you can't get what you need in ten takes, you have the wrong person on one side of the glass or the other).

The very first radio spot I ever did was for Jack In The Box. We recorded it in the big room at the long gone Wally Heider Studios in Hollywood, and the incomparable Jimmy Hite was the engineer. Since it was my first radio spot, my creative director was with me at the session. And even he couldn't believe the talent we had in the room.

Either I wasn't paying much attention to the budget, or the client wasn't. My first spot was a cast of seven legendary voice over talents. Jack Angel. Joanie Gerber. Tress MacNeille. Bob Ridgely. Brian Cummings. Frank Welker. And Gary Owens.

Gary was the consummate professional. He had the quintessential announcer's baritone and also a comedian's timing and sensibility. Between takes he'd joke about Dan Rowan and Dick Martin of Laugh In, where he'd first become a household name as the show announcer. And when it was time to get back to business, he'd look at me and ask, "Is that what you were looking for?"

That was the one and only time I ever worked with him. And I'm not gonna lie to you - I was starstruck not only with Gary, but with everyone in the booth.

Gary Owens passed away yesterday at the age of 80. So I'd just like to say thanks Gary, for taking direction from a kid who really didn't know what he was doing yet, and for making me feel that I was doing it right.

Rest in peace.

Sweet Baby James

I imagine every person on earth, or close to it, who has a son named James loves this song. Not that you need to have a kid to love it, but it only magnifies it.

Because I'm one of those people, I've heard many, many versions - both of James Taylor singing it and cover versions. This 1971 version from the Johnny Cash Show is my favorite. For starters, it was James Taylor's network television debut. And it's a powerful one, with just him, his guitar, his voice and one timeless song.

It's also a triumphant performance, with the audience jumping to their feet as if they were spring-loaded, and James Taylor walking off the stage to shouts of "More!"

Even though my son is named James, I never sang this song to him. Both he and his sister were sung to sleep with Springsteen's Thunder Road when they were babies (I know, I'm as shocked as you are).

Still, this is the song that just opens the floodgates thinking about my boy. It perfectly captures the love that all of us in the James Parents Club have for our boys.

The story is James Taylor wrote the song for his nephew who was named after him. He wanted it to be a cowboy lullaby, a buckaroo to bedtime melody.

That's his story, and he's sticking to it. But I know the truth.

He wrote it for my baby James.

I'm hatin' it

There really are so few things that offend me in advertising. In fact, for the most part, I usually feel the same way about it that I do about free speech and comedy material - everything's fair game.

But even though they're sometimes hard to see, the lines are there. And McDonald's, in my opinion, has crossed one with this commercial.

I recognize the neighborhood McDonald's is just that: a member of the community, and a business that wants to support it. And to that end, I think there's nothing wrong with posting messages on their reader boards about what's going on in their town, their state or the world.

But when they make a manipulative (Carry On as the soundtrack? Subtle.), crass commercial exploiting genuine tragedy in the world, it's offensive. How many minutes away are we from the spot with the Je susis Charlie sign?

It might get a pass if it were genuinely in service of the greater good. But, let's not kid ourselves or let them kid us. They're doing it to sell their cereal-filled, heart-attack inducing, greasy little burgers.

McDonald's, with it's menu of over a hundred items and rapidly declining sales, lost it's way a long time ago.

Too bad they don't have an agency that can help them find their way back.

The other fugitive

Before Harrison Ford brought his own brand of "I am not Han Solo" to the role of Dr. Richard Kimble in The Fugitive, it had been a long-running, successful television series ("A Quinn Martin production") starring David Janssen.

I was a big fan of Janssen. He was a throwback to a time of leading men and movie stars. Very Humphrey Bogart in his approach, Janssen was the strong, silent, man of few words.

While it's not fair to compare, which I'm going to do, I always felt he was a more believable Richard Kimble than Ford was. What helped was that unlike the movie, the series wasn't burdened by a subplot involving faked samples for a new pharmaceutical drug - a distraction I never felt Kimble would be going after when his life was on the line. Janssen's portrayal was a pure story of a man on the run, trying to find his wife's real killer, and the adventures and experiences he had in the process.

At the time, the final two-part episode was the highest watched television show in history. I like to think part of the reason was because the building that stood in for the courthouse in the final episode was my junior high school auditorium (see the clip).

A few years after The Fugitive, Janssen starred in another successful show, Harry O, playing a private investigator working in San Diego. He brought many of the same character qualities to that part, and even though it didn't have the longevity or mythology of The Fugitive, I enjoyed it too.

Janssen was only 48 when he died of a heart attack in 1980. I'll miss seeing the performances he would've given.

Trigger happy

Back in the day, before I could roll out of bed and be at Jet Blue, when I wanted to go to Vegas - and it was fairly often - I'd just hop on the 15, crank up Springsteen, put my lead-lined shoe on the gas and go.

But before I stopped for a Quarter Pounder at the water tower McDonald's in Barstow, and before I pulled over to buy a lotto ticket at the Country Store in Baker, I'd drive past Apple Valley, the small town just after Victorville in the high desert.

Home of the Roy Rogers Museum.

Thanks to the giant statue of Roy's golden palomino Trigger on the roof of the museum, you could see it from the freeway. Every time I went screaming past it I always thought someday I should make some time and stop in there. Not exactly a bucket list item, but more to satisfy my curiosity about exactly what good 'ole Roy had that could fill a museum.

When I was growing up, Roy Rogers was the King of the Cowboys, starring in many musical westerns. Co-starring in all of them was his trusty horse Trigger. Famously, the big draw at the museum was the fact that when Trigger died, Roy had him stuffed. He was now living at the museum, posed rearing up, just like he used to do in the movies and on Roy Rogers television show.

It could've gone worse for Trigger. At one point, Roy Rogers had a chain of roast beef restaurants.

Finally, on one of my Vegas runs, I stopped in the museum. Though it'd been open a couple hours by the time I got there, I was literally the only person in the place.

I came to two conclusions right off the bat: first, Roy and Dale Rogers were hoarders. And second, seeing Trigger stuffed and posed like that was more sad than anything else. It wasn't so much a museum as a garage packed with souvenirs from a lifetime in cowboy show biz.

Like seeing Elvis at the International Hotel in Vegas, hearing Sinatra and Sammy Davis Jr. at the Greek Theater, and meeting Groucho Marx, I can now wear the badge and say I've seen Trigger in his eternity pose.

Given the low attendance at the museum, probably due to the fact there weren't that many hardcore Roy Rogers fans still walking the earth (at least they weren't stuffed and posed), the museum closed. It moved to Branson, Missouri for a bit, but it eventually closed there too.

Trigger still lives on however, although now it's in the lobby of RFD-TV in Omaha, Nebraska. When the museum closed, he was auctioned off to the station for $266,000, along with Roy's dog Bullet who went for $35,000.

Just like my childhood, Roy and Dale are long gone now. But they're a fond memory from that time, even if their museum wasn't the thrilling experience I'd hoped it would be.

Still, I like thinking that wherever they are, they're still singing', ridin', roping' and wearing the white hats.

Happy trails Roy.

This one goes to eleven

We have a flatscreen television in our living room. And while flatscreens are known for their beautiful, realistic and highly detailed pictures, what they're also known for is their awful sound.

Apparently the doctor was out when they decided to put the speakers on the back of the flatscreen, facing backwards. Which would be bad enough under normal circumstances, but when the television is in a cabinet, all the dialogue sounds muffled and muddy.

Interesting fact: Muffled & Muddy was the title of my first album.

Anyway, as a result of bad speaker placement, when my family watches TV in the living room, in order to hear each other they have to scream what they're saying. And to hear anything coming out of the TV, they have to ramp up the poorly built, bad sounding speakers almost all the way to the breaking point. Then those little suckers become deafening, they sound distorted and they're virtually unlistenable.

And the speakers sound pretty bad too.

In order to alleviate the problem, we bought a Yamaha sound bar. It delivers high fidelity sound, except because the cabinet is the size it is, the sound bar has to sit behind the flat screen. But at least its speakers face forward.

The problem is no one ever bothers to turn it on. I guess since it's behind the TV and not really visible they forget it's there. That or learning a new button on the remote is too much to deal with.

I suppose we'll just keep blasting the tinny little TV speakers until they blow out, at which point we'll be forced to use the sound bar.

Or maybe just maybe one night, while it's late and we're fast asleep, elves will sneak in the house, take the flatscreen out of the cabinet and put it in its rightful place on the mantle, where the picture will look great, the sound won't be boxed in and dad will be really happy.

You never know. It could happen.

It's showtime. Almost.

This is going to seem hard to believe, but unlike fairy tales and stories about unicorns, leprechauns, insightful account planners and consumer engagement, this one is absolutely true.

Once upon a time, people used to go to movie theaters and, not including movie trailers, there were no commercials or advertising before the movie. None. Zilch.

Then, someone at the L.A. Times had an idea about how the paper could get into the movie business. They decided they’d give a discount on media placement for theater listings to the theater chains if they’d run an L.A. Times commercial before the movies started.

It was a great deal for the Times. Captive audience, big screen and a theater extortion plan they knew the chains would go for.

When these commercials started appearing years ago, it didn’t matter if you were seeing a movie at the Village in Westwood or the Gardena Cinema. They were unanimously and loudly booed. People threw popcorn at the screen. The audience could get commercials at home on their televisions. It wasn’t what they were coming to the movies for. They hated it and they weren't going to sit for it.

Except that they have.

Fast forward to today. Since no one looks in the newspaper for show times anymore, the L.A. Times commercials are a quaint memory (and the paper might soon be as well). But what’s taken its place are theater owners who’ve co-opted the idea to generate revenue for themselves.

You know those pre-show, pre-packaged group of ads, shorts, trailers and interviews you see before movies? The ones that are usually bundled as First Look or The Twenty (short for the 20 minutes prior to showtime)? Yes it's paid advertising. But it's the theaters themselves who are bringing it to you.

The three major chains - Regal, AMC and Cinemark - have together formed National CineMedia(NCM) to show preshow ads in their theaters. Here's an idea how much they're making off it:

And you thought all their profit was coming from $4.75 cups of Coke.

It's actually amazing they manage to have the ad sales they do. Here's the pitch from their website:

If by fully engaged audience they mean a theater full of people talking, checking their phones, texting, playing games, looking for seats, at the concession stand buying $5.75 buckets of popcorn, then yes, they're fully engaged.

Fully engaged isn't the only promise they make that they aren't keeping.

Did you see it? It's the part at the end about loving the brand? I'm pretty sure being shown commercials in a theater has just the opposite effect. It's one thing when you see a bad commercial on television. But when you see one (or the same one) on a 60-ft. screen in 70mm with Dolby sound, the badness just scales up. So does the resentment. Even if it's a good spot, it's holding you captive before your movie.

There are two problems here. First, as always, is the money. Like the fees the airlines charge for what once was free, the theaters are making way too much from these commercials to get rid of them. And second is a passive audience who has just come to accept the first fact.

I usually like a theater as quiet as possible.

But I do miss the booing I used to hear the minute the commercial started playing.